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Afterword The cultural impact of punk: an interview with Jon Savage Matthew Worley Among the numerous accounts of punk’s origins and early development that now exist, Jon Savage’s England’s Dreaming (1991) is peerless. Combining sharp critical analysis with participatory insight, it locates British punk squarely within its socio-economic, cultural and political context. Indeed, Savage’s reading of punk may be traced back to his 1976-produced fanzine London’s Outrage, which interspersed media clippings and pop cultural references with an essay forewarning Britain
The 'Indian Room' label from Osterley's bell-pull system illustrates the economic and cultural aspects of the relationship between country houses and the British Empire. This book is a study of that relationship, of the ways in which country houses like Osterley served as venues for the expression of personal and national imperial engagement between 1700 and 1930. A rare scholarly analysis of the history of country houses that goes beyond an architectural or biographical study, and recognises their importance as the physical embodiments of imperial wealth and reflectors of imperial cultural influences, is presented. The book assesses the economic and cultural links between country houses and the Empire. In terms of imperial values, country houses expressed both the economic and cultural impact of empire. Carr and Gladstone were only two of the many examples of colonial merchants who turned landed magnates. Nabobs - men who made their fortunes either as employees of the East India Company or as 'free traders' in India - were willing to risk their lives in pursuit of wealth. Like nabobs, planters went to the colonies in search of wealth and were prepared to spend substantial time there in order to accumulate it. Military and naval were among categories of people who purchased landed estates with imperial wealth. The book identifies four discourses of empire - commodities, cosmopolitanism, conquest and collecting - that provided the basic categories in which empire was represented in country-house context.
This book approaches the rich and diverse figure of the earl by looking at a wealth of diverse visual and textual manifestations of Essex produced during the sixteenth century and up to the present day. It resituates his life and career within the richly diverse contours of his cultural and political milieu. Included in the discussion are not just those texts of which Essex is the subject, such as poems, portraits or films, but also those texts produced by Essex himself, including private letters, poems and entertainments. The book first offers important insights into the composition and ethos of the Essex circle. It then provides an important intervention in the debate about the relationship between Essex and the theatre and Essex and Shakespeare, considering his role as a patron of a company of players. The book also explains Essex's use of non-professional theatrical entertainments at court in 1595 to promote an agenda he had shared with Sidney by campaigning for an increased level of English involvement in international affairs. It deals with a frequently neglected entertainment called the device of the Indian Prince, referred to here as Seeing Love as it dramatises the story of the blind Indian prince. Finally, the book offers a detailed examination of Essex's relationship with another dangerously public discourse, 'politic history', by tracing the influence of a range of competing texts.
relates to their cultural inheritance. Through this we can reveal much about a period’s dominant culture and ideology.’ 9 In terms of imperial values, country houses expressed both the economic and cultural impact of empire. On the economic side, there were over a thousand houses in the United Kingdom that passed through the hands of men who made their money in the Empire at some point
risen to prominence following the decision to shoot a three-feature-film adaptation of Tolkein’s The Lord of the Rings (hereafter LOTR ) using the physical landscape locations, studios and production personnel of the country. The films appear to have had a substantial economic and cultural impact in the country: a report for the New Zealand Film Commission, for instance, claimed that most of the
houses were built or acquired via imperial wealth. One component of my argument therefore suggests that our traditional chronology of imperial influence on the metropolis needs to be reassessed. This translated into a significant cultural impact in the late eighteenth and early nineteenth centuries as well. This period saw the emergence of several different imperial discourses in
concerns the relationship, practical and analogical, between the photograph and 150 Stitching memories the map, and in particular the challenge that the excessive, visibly fractured temporality of photographic mapping poses to the lingering notion of the map as having a snapshot (a)temporality, in Wood’s terms, or of being ‘a slice through time’, in Massey’s words (2005: 107). The stress on atemporality effects in studies of the aesthetics and cultural impact of geomedia, and the conflation of the cartographic and technological/cultural versions of timelessness in
accommodation, carriage hire and carriers’ bills. And yet, as with the country house itself, the magnificent and mundane were two sides of the same coin; they were mutually inter- dependent. A coach was useless without well-fed horses to pull it and would have lost much of its cultural impact were it to appear in public in a dilapidated condition. Moreover, coach ownership implied journeys, the cost of which – as Sir Roger Newdigate’s accounts make clear – could easily exceed those of the vehicle and equipage. Whyman has suggested that the coach was both useful and symbolic
, there is clearly more to the story than what The Kafir Scholar’s Companion lets on. This chapter revisits the quest to establish the dominance of the seven-day ritual in the Cape Colony, exploring the significance of its cultural impact and of the ways in which it was received, resisted and reinterpreted by Christian converts. In Chapter 3 we saw how the order of the week, the Sabbath and the bell
the work of independent artists and the type of works produced (with the exception of those by the largely collaborative Art et Regard des Femmes and La Spirale, which has little available work outside that of its leader Charlotte Calmis). The groups will be presented chronologically according to their development in the 1970s, with Femmes en Lutte and Collectif Femmes/Art receiving more detailed attention to their organization, politics and cultural impact. Each collective will be considered, via illustrations and interviews, with specific attention to group